Claudio Ambrosini (Italia), Jacki Apple (USA), Eugenia Balcells (Spagna),
David Behrman, Paul Demarinis (USA), Steven Berkowitz (USA), Mario Bertoncini
((USA), Joep Bertrams (Olanda), K.P. Brehmer (Germania), Michael Brewster
(USA), Leif Brush (USA), John Cage, John Fullemann (USA), Nicolas Collins
(USA), Alvin Curran (USA), Cort Day (USA), Mario Novella, Del Signore
(Italia), David Dunn (USA), Max Eastley (Inghilterra), Richard Felciano
(USA), Bruce Fier (USA), Bill Fontana (USA), Dieter Froese (Germania),
John Furnival (Inghilterra), Raymond Gervais (Canada), Jochen Gerz (Germania),
Malcolm Goldstein (USA), William Hellermann (USA), Kay Hines (USA), Martin
Davorin-Jagodic (Francia), Howard Jones (USA), Julius (Germania), Herwig
Kempinger, Gogo Khatibi (Austria, Iran), Takehisa Kosugi (Giappone), Christina
Kubisch (Germania), Ron Kuivila (USA), Annea Lockwood (Nuova Zelanda),
Alvin Lucier (USA), Jackson Mac Low (USA), Pierre Marietan (Svizzera),
Tom Marioni (USA), Albert Mayr (Italia), Gianni Melotti (Italia), Robert
Moran (USA), Davide Mosconi (Italia), Maurizio Nannucci (Italia), Max
Neuhaus (USA), Pauline Oliveros (USA), Hans Otte (Germania), Jack Ox (USA),
Charlemagne Palestine (USA), Walter Prati, Wilma Baccheschi (Italia),
Terry Riley (USA), F.M. Ruprechter (Austria), Sarkis (Turchia), Alan Scarritt
(USA), Giancarlo Schiaffini, Lorenzo Taiuti (Italia), Dieter Schnebel
(Germania), Urs Peter Schneider (Germania), Jill Scott (Australia), Paolo
<<Silver>> Silvestri (Italia), Karlheinz Stockhausen (Germania),
Akio Suzuki (Giappone), Roberto Taroni (Italia), Nina Yankowitz (USA),
Vito Acconci (USA), Marinus Boezem (Olanda), Giuseppe Chiari (Italia),
Terry Fox (USA), Walter Marchetti (Italia), Maurizio Marscico (Italia),
Tim Maul, Fred Szymanski (USA), Maurizio Turchet (Italia), Michel Waisvisz
(Olanda), Lawrence Weiner (USA).
Exhibition review, Sonorità Prospettiche, by Rossella Bonfiglioli,
Flash Art, Milan, Italy, March, 1982 issue.
"Every object, or physical form, can be represented as an attractor
of a dynamical system on a space of internal variables. Such an object
is stable, and so can be recognized, only when the corresponding attractor
is structurally stable. All creation or destruction of forms, or morphogenesis,
can be described by the disappearance of the attractors representing the
initial forms, and their replacement (by capture) by the attractors representing
the final forms. This process, called catastrophe, can be described on
a space of external variables. Every structurally stable morphological
process is described by a structurally stable catastrophe, or a system
of structurally stable catastrophes, on the space of external variables.
Every natural process decomposes into structurally stable islands, the
chreods. The set of chreods and the multidimensional syntax controlling
their positions constitute the semantic model.
When the chreod is considered as a word of this multidimensional language,
the meaning (signification) of this word is precisely that of the global
topology of the associated attractor (or attractors) and of the catastrophes
that it (or they) undergo. In particular, the signification of a given
attractor is defined by the geometry of its domain of existence on the
space of external variables and the topology of the regulation catastrophes
bounding that domain.
One result of this is that the signification of a form (chreod) manifests
itself only by the catastrophes that create or destroy it. This gives
the axiom dear to the formal linguists: that the meaning of a word is
nothing more than the use of the word; this is also the axiom of the "bootstrap"
physicists, according to whom a particle is completely defined by the
set of interactions in which it participates.
René Thom, "Structural Stability and Morphogenesis"